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THE LEWIS CARROLL SOCIETY 



It Letter 



OF NORTH AMERICA 



NUMBER 40 WINTER 1992 




He had just one idea — but, that 



LCSNA Publishes Illustrated Snark 

On May 2, the LCSNA will publish a newly illustrated 
edition of Lewis Carroll's classic nonsense poem The Hunting 
of the Snark. The book will contain over 60 illustrations by artist 
Jonathan Dixon, who spent over a year on the project. Dixon 
was born in Washington, D. C, in 1 966, and currently resides in 
Redwood Falls, Minnesota. He is a long-time fan of Lewis 
Carroll and 1 9th century book illustration and a member of the 
LCSNA. This will be his first published book. 

Dixon's pen and ink illustrations for the Snark are rife with 
wit and allusions to everything from William Shakespeare to 
Monty Python— in fact, clever critics will notice that Hamlet 

and the "Dead Parrot" sketch converge in a single illustration. 
Dixon has said of some of his illustrations that they are the visual 
equivalent of Carroll's parodies of popular poetry — Munch's 
"The Scream" and Goya's "The Sleep of Reason Produces 
one eing mii Monsters"are thebasisfortwoof hispictures, andanotherbears 
a striking resemblance to the work of Maxfield Parrish. 

Dixon's biggest influences, however, are the illustrators of the late 19th century, 
especially those who worked with Carroll — Tenniel, Frost, Furniss, and Holiday. He 
pays tribute to these great artists by placing them, along with Carroll himself, in the 
jury box in the Barrister's dream. 

Readers who take a careful look at Dixon's illustrations will find many of the 
clever details he incorporates, yet I doubt if anyone will find them all. Still, take a look 
at the Bellman's fireplace, the figurehead and the name of the ship, and the profile of 
Snark Island. This last appears on the final of three title pages ("What I tell you three 

times is true"). This title page includes 
calligraphy created by Glen Epstein, who 
might be called an interplanetary artist, 
as he designed the logo for the Gallileo 
space probe. 

Dixon's illustrations exhibit not only 
a careful study of the text, but also a 
knowledge of many aspects of Carroll's 
life and times, yet his work will surely be 
enjoyed by those who are discovering 
Carroll and his masterpiece of nonsense 
for the first time. 

We hope that Mr. Dixon will be able 
to speak to the Society at a future meeting 
to point out more of the unique features 
of his work. Until then. Society mem- 
bers will certainly enjoy this new look at 
an old favorite. Ordering information is 
included in this issue of KL. 



Future Meetings 

The Spring 1992 meeting of the 
LCSNA will see our return to the Bobst 
library of New York University, which 
houses the impressive Alfred C. Berol 
Lewis Carroll collection. Frank Walker, 
curator of the collection, will prepare a 
videotape for the meeting which com- 
pares several television versions of Alice 
produced over the past four decades. In 
addition to this presentation we will have 
two featured speakers. 

Poet and children's author William 
Jay Smith will deliver a talk titled "What 
is the Sen.se of Nonsense," and William 
Orr, who is currently working on trans- 
lating Carroll's works into Esperanto, 
will discuss the difficulties and pecu- 
liarities of translating Carroll. The meet- 
ing will be preceded by lunch, and efforts 
are underway to arrange a social gather- 
ing for members after the formal meet- 
ing. Full details will follow shortly. 

Plan ahead for this fall when our 
meeting will take place on October 17 in 
San Francisco, California. 




Editorial — 

Memory* s Mystic Band 



You Asked For It . . . 



December 28, 1991, 10 p.m.: A four- 
year-old child a thousand miles away gets on 
the phone to say hello to me and then, without 
prompting, sings me "Away in a Manger." 
Suddenly all the neon and glitter and news 
stories about the economy disappear, and 
Christmas is made pure again. As I wipe a 

tear away No, this is not a commercial for 

A T & T, just my latest lesson in the beautiful 
innocence of childhood. Of course, if I had 
paid any attention to Lewis Carroll, I would 
have learned that lesson long ago, but nothing 
teaches like experience. 

"Any one that has ever loved one true 
child," wrote Carroll, "will have known the 
awe that falls on one in the presence of a spirit 
fresh from God's hands, on whom no shadow 
of sin, and but the outermost fringe of the 
shadow of sorrow, has yet fallen. ... I think 
a child's first attitude to the world is a simple 
love for all living things." Carroll's Roman- 
tic notion of the child, inherited, as Morton 
Cohen has noted, from Blake, Wordsworth, 
and Coleridge, was one that he believed in 
deeply and which he applied throughout his 
life, in thought, word, and deed. 

Can such a child exist today, in a world of 
Teenage Mutant Ninja Turtles and sugar 
frosted breakfast cereal? Undoubtedly. 20th 
century man may have shortened the period 
of childhood innocence, but he has yet to 
eliminate it all together. Children can still 
delight in the simplest pleasures — pleasures 
we sometimes spend our whole adult lives 
trying to recapture. Some even delight in the 
works of Lewis Carroll! 

I do not believe those who say Carroll has 
no relevance for today's child, but one must 
not simply toss Alice at an eight-year-old and 
say "Read this." When I have seen real joy on 
the faces of children in the presence o{ Alice 
is when I have read it to them aloud — sud- 
denly the old-fashioned words and slow-mov- 
ing action are transformed into a cacophony 
of strange voices, outlandish characters, and 
funny jokes. Children's faces do light up. 
I've seen it happen. 

Why should we share. Alice with children 
in this way? Not to ensure the future of the 
LCSNA or to show off our knowledge of the 
text; not for our own enjoyment or to train the 
next generation to have the same passions we 
have; Carroll told us why — "No deed of ours, 
I suppose, on this side of the grave, is really 
unselfish: yet if one can put forth all one's 
powers in a task where nothing of reward is 
hoped for but a little child's whispered thanks, 
and the airy touch of a little child's pure lips, 
one seems to come somewhere near to this." 



As part of the continuing saga of the 
LCSNA survey, we take this space to 
answer a few specific questions from 
members' responses. 

• "One wish of mine is for member- 
ship folders I could have on hand to 
give to potential members." The 
LCSNA does have a publicity folder 
with a membership form attached. Of 
course, these forms do us no good sitting 
in a box, so we would be happy to send 
copies to members who request them 
(simply write to the secretary at the ad- 
dress on page 6). Most of our new 
members are recruited by old members, 
so we would love to have your help. 

• "I vcould prefer a single two-day 
meeting each year, so I have more time 
to get to know other members." We 
have experimented with several formats 
for meetings and found that two meet- 
ings each year (usually one in or near 
New York and one elsewhere) allow the 
maximum number of members to par- 
ticipate. We have made an effort re- 
cently, and will continue to do so, to have 
more planned socializing time before or 
after the meetings so that members can 
have a chance to discuss Carroll (and 
even other matters) informally. 

• "Can meetings be videotaped or 
audiotaped for members who are un- 
able to attend?" The board has ad- 
dressed this issue and decided for several 
reasons to forgo the taping of meetings. 
In addition to the complications involved 
in artanging the taping, and the repro- 
duction and distribution of tapes, many 
speakers prefer not to have their presen- 
tations recorded. Rather than deal with 
this problem on an individual case basis, 
it is simpler to avoid the issue altogether. 
This also reduces the chance that some- 
one might decline to speak to us because 
of this issue. 

• "I would like to write for the Knight 
Letter^ So many of you responded that 
you would be interested in writing on 
various topics that it is impossible to 
write to you all individually. We would 
be happy, however, to consider any sub- 
missions you feel are appropriate to the 
format of the KL. In the case of submis- 
sions which we feel are more appropriate 
for other publications we will be pleased 



to forward them to other editors if so 
instructed. We do appreciate all the 
contributions we receive for the KL, even 
if there is not room for everything. With- 
out your help, this newsletter would look 
like a Baker who had just encountered a 
Boojum! 

• "The Knight Letter doesn't need a 
collectors' exchange, since Joel 
Birenbaum does such a good job with 
his." Good point. LCSNA member Joel 
Birenbaum has organized a Lewis Carroll 
collectors' exchange for several years 
now. Members interested in joining his 
network should contact him at 2486 
Brunswick Circle, Apt. #A 1 , Woodridge, 
IL, 60402. 

• "Whatever happened to the free 
books?" In the early days of the LCSNA, 
the $20 membership free included a copy 
of a book or chapbook published by the 
society that year. Rising production costs 
made this arrangement economically 
impossible. Also, several years ago the 
society embarked on the task of publish- 
ing the complete pamphlets of Lewis 
Carroll in six large, and expensive, vol- 
umes. The Board felt that it was more 
important to issue this major landmark 
series in Lewis Carroll scholarship than 
to continue to issue the less significant 
chapbooks. Members will, however, re- 
ceive substantial discounts on the books 
in the pamphlets series, as well as on all 
society publications. These discounts, as 
well as the increased size and frequency 
of the Knight Letter, should help to make 
up for the discontinuation of the chap- 
book series. 

• "How can I find out about the 
Lewis Carroll Society of Great Brit- 
ain?" The British LC Society has two 
publications, a newsletter called 
Bandersnatch which features brief notes 
on the society's meetings, book reviews, 
and press clipping; and a journal, 
Jabberwocky, issued somewhat irregu- 
larly and devoted to articles on all as- 
pects of Carroll's life and works. Mem- 
bership dues for U.S. members are $20 
for individuals, $23 for institutions, and 
$15 for students and senior citizens. Dues 
should be sent to the Treasurer, Roger 
Allen, at 146 Headstone Lane, Harrow, 
Middlesex, HA2 6JT, England. 



Batt's Snark Plays West End for Christmas Season 

£2 Million Musical Gets Lukewarm Critical Reception 



THE HUNTING OF 




Mike Batt's musical version of Carroll's The Hunting of 
the Snark opened at the Prince Edward Theatre in London on 
October 24 and ran through the Christmas season, despite a less 
than sensational set of reviews. Followers of Batt will recall 
that his Snark first appeared as a concept album several years 
ago. The original album features John Geilgud and John Hurt 
as narrators and a group of pop music all-stars as the various 
Snark hunters. One happy byproduct of the musical's West 
End appearance is the issuing of the original album on CD. 

The new incarnation of Batt's score is a fully realized, high- 
tech musical which takes the audience through a dazzling 
display of special effects and memorable music. Some critics 
have decried its lack of plot, but it certainly has more plot than 
Cats or Starlight Express which have played 
in London to sold-out crowds for years. 

The show begins with a 60-piece or- 
chestra in the middle of the stage, where 
they remain for the entire evening. The 
orchestra leader plays a small role in the 
hunt, and has therefore been rechristened 
"Bandmaster." Another additional "B" 
character who appears is the Bishop, but 
the other major characters are based on 
Carroll 's originals. Carroll himself, played by David McCallum, 
introduces the show and moves it along through outside 
narration and occasional repartee with the cast. Virtually all of 
Carroll's lines are taken from his writings, and it is a tribute to 
his wit that many of the show's biggest laughs came during his 
recitations. Some of the most touching moments come from 
his character too, for he provides a figure something akin to 
C. S. Lewis' concept of God — he created the characters and 
their situation, but once the action has begun he can only step 
back and observe, sharing in their laughter and their pain but 
unable to interfere with their actions. The deep sorrow with 
which he says "For the Snark was a Boojum, you see" is very 
reminiscent of Asian's majestic sharing of human pain. 

The hunt is introduced by Carroll quoting from a letter in 
which he told a young girl that he didn't know the meaning of 
the Snark but that he liked an explanation that he had been 
offered, that it was "an allegory on the search for. . . ." 
Carrollians will know that the missing word is "happiness," but 
Carroll is interrupted and we soon discover that this Snark hunt 
is an allegory on the search for many things. The structure of 
the show hangs on the assumption that each searches for 
something different — his own personal Snark. The Bellman 
looks for a concrete beast, the Baker for a chance to prove his 
bravery, the vegetarian Butcher for the motivation to finally 
kill something, the Beaver for Love, and the Bishop for God. 
The Cast sings Hymn 42 before departing intoning "I know it's 
out there, but it's not what you believe." From this point on, 
the scenes which work best dramatically involve the conflicts 
between characters who expect to find different Snarks. 

While the Billiard-marker's song is amusing and the 




THE 



THE MUSICAL 



Barrister's Dream cleverly staged, neither seems to fit in the 
show. On the other hand, the conflict between the aggressive 
Bellman and the fearful Baker, though somewhat overstated, 
provides some dramatic moments. The one spot in the show 
which would certainly make Carroll cringe, as well as those 
who brought small children, is when the Butcher, while trying 
to kill the (female) Beaver, suddenly announces that he feels 
"as erotic as hell." The transformation from foe to friend is 
much too sudden and much too sexual. 

Batt brings in some of Carroll's other works at times, the 
best being when the B<ftiker, having been 
attacked by a Bandersna^ch, mumbles words 
"whose utter inanity prove his insanity." 
What he mutters, shouts, whispers, and 
sighs his way through is a marvelously 
dramatic recitation of "Jabberwocky," 
which Carroll also integrated into the Snark. 
What does this crew learn from its hunt 
once the Baker has disappeared and they 
have returned to port? Carroll's story didn't 
have a moral — we know how he abhorred 
them — but Batt's is summed up in the final 
song when the cast, led by the remorseful 
Bellman, sings, in a near paraphrase of the 
United States' Bill of Rights: 

Whatever makes you strong 
Whatever lines you choose to live your life along 
I will never say you're right or wrong 
Even if I don't believe whatever you believe. 
Each character has finally recognized the others' right to 
search for whatever Snarks they choose — "It's not what you 
believe" becomes "Whatever you believe." 

The most innovative feature of Batt's show, and one which 
will likely be used by many others in the future, was a unique 
projection system which allowed him to throw animated scenes 
onto portions of the set. Through the use of over 1 50 slide 
projectors and thousands of handpainted slides the show was 
able to adopt a cinematic flavor employing fade-outs, dis- 
solves, and techniques rarely seen in the live theatre. More 
than anything the results of this technique reminded me of 
Terry Gilliam's animated sequences done for Monty Python. 
Why did this show fail to achieve a long run in spite of the 
spectacular nature of the effects and the drawing power of 
Lewis Carroll? Unquestionably Batt attempted to do too 
much. He acted as composer, lyricist, director, designer, and 
on some nights. Bandmaster. The potential for a superb 
evening at the theatre was lurking in this Snark; if Batt had only 
been willing to share the creative load it might still be running. 
Still, it was entertaining and, at times, breathtaking, and the 
root of its critical rejection may have been that it occupied a no- 
man 's-land between traditional Christmas pantomime and 
modem mega-musical — it was far beyond the one in content 
yet fell short of the other in execution. 



O^jif 5^C[^#p^ Sc ©la^jccg, 



New & Noteworthy 

The past few months have made for productive browsing at 
the local bookstore. If you haven't yet found them, you may 
want to look for the following. 

Alice's Adventures in Wonderland illustrated by Barry 
Moser. Now available in paperback from Harcourt Brace 
Jovanovich ($16.95, ISBN 0-15-604426-9). 

The Barry Moser Engagement Calendar for 1992. A 
must for fans of Moser's Alice illustrations. Each week has a 
Moser illustration, many of which are drawn from the Alice 
books, and each illustration is accompanied by previously 
unpublished commentary from 
the artist. The rear cover has a 
previously unpublished illustra- 
tion of the Hatter's watch which 
incorporates four self-portraits of 
Moser. Published by Harcourt 
Brace Jovanovich ($ 1 2.95, ISBN 
0-15-610694-9). 

Alice in Wonderland illus- 
trated by Greg Hildebrandt. An 
abridged version of the text to- 
gether with reduced versions of 
the illustrations. Published by 
Unicom Publishing House (about 

$5.95). 

Illustration by 

Rhyme from Through the Looking Glass. Six pop-up scenes 
designed by Nick Bantock accompany the text of 
"Jabberwocky" (though the final stanza is lacking). A cleverly 
designed book, somewhat reminiscent of Edward Corey's The 
Dwindling Party. The final pop-up of the Jabberwock emerg- 
ing from the head of the hook-handed narrator is especially 
effective. Published by Viking ($8.95, ISBN 0-670-84085-8). 

Donald Rackin's Alice Essays 
Revised Into Book 

Alice has entered Twayne's Masterwork Studies series of 
critical reader's companions with the publication of Donald 
Rackin's AAIW and TTLG.- Nonsense, Sense, and Meaning. 
After some preliminary material establishing the books' con- 
text, Rackin offers revised versions of five previously pub- 
lished essays, reworked for the occasion so that they compose 
a unified reading of the two books. Some of these essays have 
been relatively available, some only made periodical appear- 
ances, but none has been in print more recently than 1988. 

Of course, this is essential for collectors and scholars, but 
the many thoughtful people who are put off by or unfamiliar 
with literary criticism would be well rewarded for giving this 
a try. Rackin, who is an LCSNA member and Temple Univer- 





sity English professor, presents 
complex and sophisticated ideas 
with almost none of the idiosyn- 
cratic use of language that can make 
criticism so aggravating to the lay- 
man. Anyone with an interest in the Alices will find many 
provocative ideas, both congenial and antipathetic to one's 
own interpretation. Rackin has been publishing on Carroll 
since his award- winning "Alice's Journey to the End of Night" 
in 1 966, and it is very interesting to see someone who has been 
important in the field so long go back to his early work and 
revise in light of all that has been done on Carroll in the past 25 

years. In Jamesian fashion, we 
W may compare the young work 
with the mature revision, and 
with the later writings, and in 
doing so, find a microcosm of 
the development of Carroll stud- 
ies in the latter part of the twen- 
tieth century. This soft-bound 
book should be available from 
any book store, though a special 
order may be necessary. 

— Stephanie Lovett 



'^' Alice in Canada 

George Walker 

The Cheshire Cat Press of Toronto has recently published 
Alice' s Adventures in Toronto in an edition of 177 copies. 
Readers familiar with the previous publications of the Press 
will know that it consists of LCSNA member Joe Brabant, 
illustrator George Walker, and printer Bill Poole. In this latest 
effort the 96 wood engravings produced by Walker for the 
Press's edition oi Alice published inl988 are reproduced in 
black ink. Those who have not seen the earlier work will want 
to peruse this section, but, for those who have seen the 
illustrations printed in an array of colors and set into the text, 
this monochromatic reprinting will seem dull by comparison. 
Appended to this, however, are a number of woodcuts which 
were rejected for use in the 1988 /^//ce as well as reproductions 
of several of Walker's preliminary drawings. The latter two 
sections also contain commentary on why certain pictures 
were not used, as well as a further glimpse into Walker's 
method of working. This volumes makes a lovely companion 
to the 1988 Alice, and will be a valuable addition to any 
collection, documenting as it does the publication of the first 
Canadian Alice. Collectors and admirers of fine printing will 
only be further tantalized by the announcement at the end of the 
book that the Cheshire Cat Press's edition of Through the 
Looking-Glass is coming soon. (Available from Lyndsay 
Dobson Books, P.O. Box 285, Grimsby, Ontario, Canada, 
L3M4G5. Price: $85 Canadian). 



5^^ 




Carrollian 

Notes 



Carroll Visits 
Gulf Coast 

Spring Hill College in Mobile, Alabama, 
plans to hold a Lewis Carroll celebration 
on the weekend of April 10-12. Math- 
ematics professor Dr. Stephen Curry will 
deliver a talk titled "Alice in Logic Land" 
which will probe the "froggy problems 
of Carroll's Symbolic Logic.'' The pro- 
gram will also include a discussion by 
LCSNA member Eugene Walter on the 
long British linguistic tradition Carroll 
represents. Between these two talks, a 
video of the 1933 Paramount film of 
Alice will be shown. The program will 
be presented twice — once for students of 
the local math/science high school and 
once for alumni. Friends of the Library, 
and Spring Hill students. For additional 
information contact Dr. Alice Harrison 
Bahr, Director of the Library, 4000 Dau- 
phin St., Mobile, AL, 36608. 

New Disney Series 
Based on Alice 

"Adventures in Wonderland," a new en- 
tertaining and educational weekday se- 
ries for young children will premiere on 
the Disney Channel on March 23 at 7:30 
a.m. Drawing from Carroll's fantasies, 
Disney has created a 90s Wonderland 
featuring a contemporary 12-year-old 
Alice, the very hip Tweedle Dum and 
Tweedle Dee, and other characters in- 
cluding the White Rabbit, Mad Hatter, 
March Hare, Caterpillar, and Red Queen. 
"We are using the legacy of Lewis 
Carroll's fantasy-filled literature to pro- 
duce an imaginative environment through 
which we can teach language and vo- 
cabulary skills," said Stephen D. Fields, 
senior vice president of original pro- 
gramming for the Disney Channel. 
"Lewis Carroll's inventive word play 



lends itself to the stimulating, 
varied, and entertaining edu- 
cational thrust we wanted for 
the series." The series, which 
will air Monday-Friday, is a 
combination of live action, 
claymation, and puppetry, and 
is in no way related to Walt Disney's 
animated feature of y4//(r. Each of the 65 
episodes being produced will contain 
four original songs by Mark 
Mothersbaugh, lead singer for the group 
Devo. The Disney Channel will be dis- 
tributing educational kits to teachers 
across the country, and will offer a free 
"Adventures in Wonderland" poster to 
Disney Channel subscribers to help pub- 
licize the series. The series has been 
recommended by both the National Edu- 
cation Association and the American 
Federation of Teachers. 



Alice at Longwood 

Longwood Gardens, an historic home 
and garden in Kennett Square, PA, used 
the theme of "Alice's Wonderland" for 
their 1991 Chrysanthemum Festival, 
October 26-December 1. The festival 
included daily performances of vignettes 
from Alice by Shoestring Productions of 
Brandywine Valley and gardens deco- 
rated with topiary characters from the 
two Alice books. Through the Looking- 



Glass was well represented by an enor- 
mous game of chess played in an open air 
theatre several times each day. The fes- 
tival was accompanied by an exhibit. 
Images of Alice, which featured books 
and prints from the Robin Collection of 
the Donglomur Foundation, a private 
library in Villanova, PA. The exhibit 
featured a wide spectrum of illustrated 
Alices and other related materials. 



Images of Alice 

Alice was showcased in an exhibit titled 
"The Image of the Child" mounted by the 
de Grummond Collection of the Univer- 
sity of Southern Mississippi in 
Hattiesburg last year. The exhibit fea- 
tured images of children in pictures and 
words from the 18th through the 20th 
centuries. Materials for the exhibit were 
drawn from the collection's extensive 
archive of original artwork and manu- 
scripts of children's books, as well as 
from the collection of historical children ' s 
books housed at the de Grummond. A 
superbly produced catalogue of the ex- 
hibit was issued. Members wishing to 
know more about the exhibit or about the 
splendid resources the de Grummond 
collection offers for scholars of children's 
literature may contact the curator. Dee 
Jones, at Box 5148, Southern Station, 
Hattiesburg, MS, 39406. 



Dodgson's 1862 Index to 

"In Memoham," both of which differ from the description in the Lewis 
Carroll Handbook (see item #31 on page 21 of the 1979 edition). The 
first copy collates with the description in the Handbook internally, but the 
brown cloth covers have a blind-stamped decorative border on both front 
and rear, and the front cover is stamped in gold "INDEX, I TO I IN 
MEMORIAM." The second copy lacks the 8 pages of advertisements 
and is bound in a much darker brown pebbled cloth with blind-stamped 
triple rule border on the front and rear covers. The front cover is stamped 
in gold 'INDEX TO "IN MEMORIAM.'" with virtually no space between the 
"TO" and the opening quotation mark and with the period directly under the 
closing quotation mark. This work was available from the publisher bound and 
in sheets, so these could represent copies bound from sheets by individuals. I am 
inclined to believe this of the second described copy because of the lack of 
advertisements and the crudeness of the spacing on the front cover lettering. The 
first copy described, however, has all the appearances of a publisher's binding. 
Do other members have copies of this work in bindings that match either of the 
above descriptions, or even, for that matter, copies which match the binding 
description in the Handbook? 



iMfft C/a^ ra 



a^, 



"Through the Looking-Glass" will be the 
theme of the 1992 Sonoma County Hall 
of Flowers, one of the largest flower 
shows on the West Coast. The show will 
be held in Santa Rosa, CA, from July 24- 
August 9. For more information contact 
LCSNA member and show designer 
Jacquelyn Giuffre at 363 El Faisan Dr., 
San Rafael, CA, 94903. 




Cof^t^e^pondent^ 



The Alice in Wonderland Tins, based on 
the Biscuit Tin of 1892, are now avail- 
able in many museum shops and cata- 
logues, including the mail-order cata- 
logue for the Pierpont Morgan Library 
(29 East 36th St., New York, NY, 10016). 
Prices range from $7.50 to $12.50. 

As most members have probably seen, 
the Cheshire Beagle has reappeared in 
the Peanuts cartoon strip. Long-time 
Carrollians will recall the original ap- 
pearance of this character in January, 
1967. 

The Fourth Annual Snark Potluck, hosted 
by LCSNA member Richard Boothe, 
will take place at 6:30 p.m., April 1 , at the 
Picnic Shelter, Burton Chace Park, Ma- 
rina del Rey, CA. For further informa- 
tion, contact the Bellman at (213) 465- 
8439. 

Penny Whistle Toys ( 1 283 Madison Ave., 
New York, NY, 10128; 212-369-3868) 
has an Alice watercolor set in a metal box 
with a Tenniel-style illustration on the 
cover. The box is a reproduction of an 
earlier tin (one of the originals, which 
appears to be ca. 1950, was displayed in 
the Alice exhibit at the British Museum 
last fall). The set is priced at $20.50, plus 
shipping. 



The Anne Carlton Alice chess sets are 
available once again, in many museum 
shops and in the Hammacher Schlemmer 
catalogue ( 1 -800-543-3366) where they 
sell for about $250 unpainted or $600 
handpainted. 

Elizabeth Erickson reports that the Black- 
light Theatre of Prague's production of 
Alice in Wonderland currently touring 
the US and Canada is a delight to see — 
a combination of ballet, pantomime, and 
wonderful magic effects done by ultra- 
violet light with invisible black-clad prop- 
erty manipulators. For information on 
the tour, contact Bill Fegan Attractions 
(505-445-5528). 

The continuing flood of A//c^jewelry has 
flowed into recent catalogues from The 
Metropolitan Museum of Art which of- 
fers a charm bracelet ($52), Cheshire Cat 
necklace ($22 in silver, $95 in gold), and 
White Rabbit pin ($42); and Museum 
Collections (455 Lyman Dr., Hilliard, 
OH, 43026)which features Scottish pew- 
ter pendants, painted and with moveable 
limbs, of Humpty Dumpty, the mad Hat- 
ter, and the White Rabbit ($38 each). 

Mercury House reports that their new 
edition of The Complete Sylvie and Bruno 
(see KL 39) is selling well thanks to 
mentions in the New York Times Book 
Review, Publisher's Weekly, and else- 
where. Even a review in the Milwaukee 
Journal titled "Carroll's Late Novels 
Jusdy Neglected" piqued reader interest. 
We hope to have results of the Mercury 
House S&B contest in time to be printed 
in the next Knight Letter. 



Recent and upcoming offerings of Lewis 
Carroll materials from out-of-print 
bookdealers include Catalogue # 1 2 from 
Lovett & Lovett, Booksellers (110 N. 
Hawthorne Rd., Winston-Salem, NC, 
27 104) which contains over 400 items by 
or about Carroll; and a 300-plus book 
collection of Carroll materials being of- 
fered by Much Ado (7 Pleasant St., 
Marblehead, MA, 01945). 

Inkadinkado (76 South St., Boston, MA, 
02111) offers an Alice in Wonderland 
rubber stamp set featuring 40 stamps, a 
storage box, an idea booklet and, of 
course, a purple ink pad, for $29.95-i-$3. 75 
shipping. 

The Wonderland Tarot Cards, previously 
glimpsed at several locations, are now 
available from What on Earth (2451 
Enterprise East Pkwy., Twinsburg, OH, 
44087) for $12.95+$3.00 shipping. The 
same catalogue also offers a "black vel- 
vet Wonderland hat" for $37.95, but we 
are at a loss to say what this particular 
chapeau has to do with Alice's adven- 
tures. 

The Museum of Fine Arts in Boston 
(Catalogue Sales Dept., P.O. Box 1044, 
Boston, MA, 02120) offers a reissue of 
the Macmillan Pop-Up edition of Alice, 
designed by Jenny Thorne ($14), the 
Christopher Plummer Alice tapes 
($16.95), and an Alice doll which does 
not look particularly Alician ($15.95). 
Shipping is extra. 

The San Jose, CA, Dance Theatre will 
revive i\\Q\r Adventures of Alice on Feb. 
28-March 1 . Two new scenes (Croquet 
Game & Tea Party) have been added. 



For assistance in preparing this issue we would like to thank: Alice Harrison Bahr, Richard Boothe, Sandor Burstein, Morton Cohen, 
Joseph Desy, Jonathan Dixon, Elizabeth Erickson, Emily Jordan Flowers, Jacquelyn Giuffre, Tricia Haarer, Dee Jones, Janet Jurist, 
Stephanie Lovett, , Lucille Posner, David & Maxine Schaefer, and Mary Charlotte Tarr. 

Knight Letter is the official newsletter of the Lewis Carroll Society of North America. It is published quarterly and is distributed 
free to all members. Subscriptions, business correspondence, and inquiries should be addressed to the Secretary, LCSNA, 617 
Rockford Road, Silver Spring, Maryland, 20902. Annual membership dues are $20 (regular) & $50 (sustaining). Submissions and 
editorial correspondence should be sent to the Editor, Charles C. Lovett, 1092 West Fourth Street, Winston-Salem, N.C., 27101.